I have Vienna Dimension Strings which so far includes violins and cellos. I having a conversation about the implementation or lack thereof of trills in Dimension Strings. No disrespect to Hollywood, though. I find the chamber strings a little austere and don't use them often, but there is nothing wrong with them. Vienna is more pristine which makes it a bit colder but more accurate sounding.
A director asked me once if I had recorded a real orchestra. We are talking about strings, but the same applies to winds. This is definitely what I most identify with. In a recent record, I used Orchestral Violins for both 1st and 2nd, but then pasted in a single line using Chamber as 2nds when the parts were in unison. How do you deal with the 600gb of space being taken up? I'm not quite sure what to do here.
With Vienna, I load a matrix example: Orchestral Violins and use keyswitches and controllers to select the articulation. Hollywood Strings Hollywood Strings Full Crack is one of the most ambitious and detailed string orchestra libraries to date. I have also used chamber strings as 2nd violins. Keeping in mind that while I am classically trained and love symphonic music, my use of orchestra is chiefly as sweetening in rock, folk, and country pop that I write. It is a great product that I have put on records and will continue to use.
Do you own Vienna Ensemble Pro 5, and do you use it with Sonar? And the only reason they have 2 sections is to avoid phasing when you are only 2 notes of the same note, as when you start out with the same note and then to separate directions after that, as in a typical classical orchestra. I go back and forth on that issue. I can cheat with Vienna by using Orchestral Violins for 1st violins and Dimension Strings for 2nd violins. Sorry for the long post but this is the most interesting topic on the forum to me. The question is whether that is enough of an issue to warrant all the extra memory for loading second violins.
I can't wait until they finish the entire library. I especially appreciate the consistency. The main failure I have had with Vienna is getting a string quartet to sound right using the Solo Strings; but that may be my fault as an arranger. But I've been reading a bit online and apparently this thing is a system killer. Vienna is simple to use, by the way.
I basically use them for big, lush orchestral sections. Vienna Ensemble is a great way to set up a slave machine. The strings start with low chords and no vibrato to create a lonely sound, and then they gradually build. If I switch from orchestral to chamber to solo, etc. I'll have to give Dimension Strings another try, I didn't give them a fair shot.
Hi Konrad: I always thought that Violins 1 and Violins 2 should sound the same. What is it about the trill performances that's lacking? I have the Vienna Pro Player paid and the free version of Vienna Ensemble. With Hollywood, I have to load each articulation e. . I have to load them one at a time and try them. For example, I would score a film with Hollywood but if I were producing the Beatles, I would use Vienna for Eleanor Rigby.
Hollywood does a keyswitch patch, but it has a limited number of articulations basically up bow, down bow, round robin, trill, and tremelo. You just run it normally off of your hard drive? Maybe I am lazy, but Hollywood is a lot of work. A writer I produce just sent me a text to say he had tears in his eyes after listening to the orchestration I added to his track using Hollywood. Experiences with Hollywood Strings For background, I have all the Vienna Special Editions which cover Orchestral, Chamber, and Solo Strings with winds and percussion and a limited set of articulations for Appassionata strings. With Dimension Strings, you can keep the parts perfect or select a degree of humanization.